The New Zealand alt-rock trio Golden Curtain have been quietly working on the LP Underwater Gospels due for release later in the year.
The ten track album is a long awaited follow-up to the 2015 LP Hell Is Other People. Underwater Gospels marks a step change in direction of sound with the LP being sculpted through a collaboration with the broadcaster and poet Alex Green.
The first track to surface from the forthcoming album, made available to share within the past few hours, which will itself be released as a single on the 14th of April, Amen – is a darkly shrouded garage-surf valedictory of dreams unheralded.
The darkness of the shaped and shadowed bass immediately focuses attention with its menacing omnipresence which affords the drums the space to roam more widely, allowing the pace to be slowed to almost funereal as the reverberating guitar spirals through the ears with the flattened vocal emphasising the contextualisation of the written concept.
The New Zealand alt-folk band Grawlixes are planning to release the LP Set Free in July and the title track was made available a few hours ago.
Not an outfit to pop onto the party night playlist Grawlixes deliver music which has an intense sadness that daubs the listeners eyes with tear-stained handkerchief and for its resonating melancholia is music from which the audience has no desire to flee.
On the lead and title track of the eleven on Set Free, there is tender beauty created by the changing harmonics of minors and accidentals of vocal as both bowed and strummed strings gives the track its raw emotional intensity and burrows the, tad over two minutes, music deep in to the marrow-bone.
The England based New Zealand originating indie-rock band The Eversons first featured back in 2012 and have been a regular staple on the various sites ever since.
Over the years they have never been an overtly political out-fit – though often casting quizzical and satirical looks at the world around. Their most recent track to surface – Weird Year – continues the theme as they ponder on the topsy-turvey nature of 2016.
Regular readers know that I will normally use an audio embed when options between a video version and an audio file exist, but on this occasion the video extracts the events of the year with greater clarity.
Matt Carson (Guitar), Clinton Bell (Vocals), Chris Dickinson (Guitar / Vocals), Brendan Coyle (Bass) and Owen Bradley (Drums) from Auckland in New Zealand is the rock band Tablefox.
Like skilled archers on battlefield flexing bows and shooting arrows Tablefox deliver music that plies its way into the heart in a volley that has the audience in paroxysms of ecstasy. The two guitars enable the quintet to deliver an intensity of fixation akin to satiating any long standing chocolate addict with the melting rush of body temperature melt.
The aural choreography minds of a Petipa ballet choreography as Tablefox syncopate rhythm and melody with bass, percussion and guitars floating effortlessly between each other with the vocal not seeking to become the spotlight, rather a fleeting shadow which the ears follow around the evolving landscape.
Tablefox is undoubtedly comprised of able musicians, what is of more import is that they have remained true to their direction of travel, which in the crowded market-place of melodious rock is an over-populated space, but to me they are well above shoulder high and it is only a sadness their undoubted abilities are not yet far more widely recognised. With fortune their début LP Objects, set for release on the 20th will allow them far wider space to be discovered.
Sunken Seas the ambient drone outfit from Wellington in New Zealand is Ryan Harte (Vocals / Bass), Luke Kavanagh (Guitar / Backing Vocals), Jack Hooker (Guitar) and Samuel Lovrich-Fitzpatrick (Drums).
Sunken Seas have a couple of releases behind them and deliver music of the moment with a sawwing buzz of guitar reverb. Whilst there is a differential between their debut LP Null Hour and the follow-up EP Cataclysm there is a thread to follow as the droning mesmerics of the material wafts around the room in a flux of merging sounds. The music bubbles with societal discontent and is an imagery of change. The oppressive industrialisation sears its way into the head allowing the listener to contemplate the visuals that are created. Turn down the lights, turn up the volume and let yourself drift inside the sound that is Sunken Seas.
Somehow appositely, given the melting pot of fracture and coalescence that is the signature sound of Sunken Seas, from the various notes I have found it appears the band emerged from Tiddabades and have recently undergone another line-up change since their latest release, so it will be interesting to hear how the formulation of the new line-up will sound in future recordings.